Baroque architecture presentation for the lesson on mhc (grade 11) on the topic. Baroque in painting and architecture Characteristic features of baroque architecture presentation

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Baroque in architecture Baroque architecture (L. Bernini, F. Borromini in Italy, B.F. Rastrelli in Russia) is characterized by spatial scope, fusion, fluidity of complex, usually curvilinear forms. Large-scale colonnades, an abundance of sculptures on facades and interiors, volutes, a large number of rivets, bow facades with ripping in the middle, rusticated columns and pilasters are often found. The domes acquire complex shapes, they are often multi-tiered, like those of St. Peter's in Rome. Typical baroque details are telamon (atlant), caryatid, mascaron.

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Voluta (Italian voluta - curl, spiral), an architectural motif in the form of a spiral curl with a circle ("eye") in the center, a component of the Ionic capital, is also part of the composition of the Corinthian and composite capitals. The volute is sometimes shaped by architectural details that serve to connect parts of the building, as well as cornice consoles, framing portals, doors, windows (mainly in the architecture of the late Renaissance and Baroque).

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Prevailing and trendy colors: muted pastel colors; red, pink, white, blue with a yellow accent. Lines: fancy convex - concave asymmetrical pattern; in the form of a semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal division. Shape: vaulted, domed and rectangular; towers, balconies, bay windows. Typical interior elements: striving for grandeur and splendor; massive front stairs; columns, pilasters, sculptures, stucco molding and painting, carved ornament; interconnection of design elements. Designs: contrasting, tense, dynamic; pretentious on the facade and at the same time massive and stable. Windows: semicircular and rectangular; with floral decoration around the perimeter. Doors: arched openings with columns; vegetable decor

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Thanks to the bizarre plasticity of the facades, complex curvilinear plans and outlines, baroque palaces and churches acquire picturesque and dynamism. They seem to flow into the surrounding space.

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The largest and most famous baroque ensembles in the world: Versailles (France), Peterhof (Russia), Aranjuez (Spain), Zwinger (Germany).

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The Smolny ensemble reflects two styles of Russian architecture - baroque and classicism. The first convent of St. Petersburg, the Resurrection Novodevichy Convent, was built on the site of the former Smolyany Dvor. Hence the name - Smolny. The author of the project was the brilliant architect F.B. Rastrelli.

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Church of Sts. Peter and Paul is a brilliant example of the early 17th century Baroque. Architect Giovanni Trevano designed an elegant three-tiered façade with pilasters, volutes, niches, and a spacious interior. In the midsection, where the nave meets the transept, there is a powerful elliptical dome. Along the walls of the only nave, interconnecting chapels are built in, forming a kind of side naves.

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Lorenzo Bernini The great creator of the Baroque era was Lorenzo Bernini (1598-1680), equally distinguished in architecture and sculpture. He was born in Naples in the family of an artist and a sculptor. At the age of 25 he was already famous and from that time he worked mainly in Rome.

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One of his best compositions "The Ecstasy of Saint Teresa" (1645 -1652) Bernini created, being already a mature master. In it, the author depicted a mystical vision of Saint Teresa of Avila, in which an angel appears to her with a fiery arrow in his hand, with which he pierces the heart of Teresa with great love for God. The white marble sculpture is surrounded by a colonnade of colored marble, with gilded beams in the background, symbolizing the Divine light. ...

Russian art critic M.V. Alpatov © A.I. Kolmakov "width \u003d" 640 "

MHK, grade 11

Lesson number 2

Fountain of the four rivers

( Nile , Danube, Ganges,

Rio de la Plata)

on Navoma square .

ARCHITECTURE baroque

D.Z .: Chapter 2, ?? (p.21), tv. assignments (pp. 22-23)

splashes over the banks.

Russian art critic M.V. Alpatov

© A.I. Kolmakov

LESSON OBJECTIVES

• Give an idea of \u200b\u200bthe features of Baroque architecture;
• to expand horizons, skills in the analysis of works of art;
• to foster national self-awareness and self-identification, respect for the culture of other peoples of the planet, for the international cultural heritage.

CONCEPTS, IDEAS

• F.B. Rastrelli;
• Winter Palace;
• Cathedral of the Smolny Monastery;
• classicism;
• baroque architecture;
• architectural ensembles;
• Lorenzo Bernini - "genius of the baroque";
• st. Peter's Cathedral in Rome;
• palace Petersburg;
• era of "Elizabethan" baroque

Versatile learning activities

• systematize and generalize    describe and analyze   investigate the reasons  evaluate the value   narrate   
• systematize and generalize acquired knowledge about the development paths and artistic principles of baroque architecture;
•  comparative analysis baroque architectural structures with works of previous eras;
•  comment on scientific points of view and assessments of cultural figures;
•  describe and analyze architectural monuments in the unity of form and content;
•  develop an individual creative project an architectural structure in the tradition of the Baroque;
•  investigate the reasons promotion of architecture to the role of the leading art form in the 17th century;
•  evaluate the value creativity of an individual architect in the history of world and domestic art;
•  identify characteristics individual author's style;
•  narrate about outstanding foreign and domestic architects of the Baroque era;
•  make reasoned judgments about the artistic merits of specific works of architecture of the Baroque era;
•  prepare and conduct an extramural excursion on memorable places connected with the work of FB Rastrelli;
•  shoot an amateur video about architectural monuments of the Baroque

STUDYING NEW MATERIAL

Lesson assignment. What is the significance of the Baroque style in architecture for World civilization and culture?

sub-questions

• Characteristic features of baroque architecture. The main features of Baroque architecture. The originality and national flavor of Western European Baroque architecture.
• Architectural ensembles of Rome. Lorenzo Bernini. Italy is the birthplace of the architectural baroque. Creation of complete ensembles. Baroque features in the architecture of Rome. "The genius of the baroque" L. Bernini, the versatility of his creative talent. Decoration of the square in front of St. Peter's Basilica in Rome.
• Architecture of St. Petersburg and its environs. FB Rastrelli. Formation of the image of the palace St. Petersburg and the royal country residences of the "Elizabethan" Baroque era. Characteristic features of the style of F.B. Rastrelli and the architectural masterpieces created by him

This is how the French poet of the 17th century described his impressions of Baroque architecture. J. de Sudéry

Characteristic features of baroque architecture

... ... ... But in front of the beauty of both the building and the facade

The fountain, the marble, and the fence have faded.

... ... ... In twisted ornament you will see here and there

Victorious helmet and vases of incense,

Columns, capital, pilasters and arcades

You will see everywhere you look,

Cupids, monograms, secretly woven

And lambs' heads entwined with lace

And you will find a statue in a magnificent niche,

In patterns and carvings, the cornice under the roof itself. ... ...

(Translated by E. Ya. Tarakhovskaya)

Characteristic features of baroque architecture.

• Prevailing and fashionable colors : muted pastel colors; red, pink, white, blue with a yellow accent.
• Lines: bizarre convex - concave asymmetric pattern; in the form of a semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal division.
• The form: vaulted, domed and rectangular; towers, balconies, bay windows.
• Typical interior elements: striving for greatness and pomp; massive front stairs; columns, pilasters, sculptures, stucco and painting, carved ornament; interconnection of design elements.
• Constructions: contrasting, tense, dynamic; pretentious on the facade and at the same time massive and stable.
• Window: semicircular and rectangular; with floral decorations around the perimeter.
• Doors: arched openings with columns; vegetable decor

); the use of saturated colors and gilding, the creation of optical visual effects due to the refraction and reflection of sun glare, side lighting, contrasting alternation of illuminated and dark areas. "width \u003d" 640 "

Characteristic features of baroque architecture.

The main features of Baroque architecture are:

• gravitation towards large urban and garden and park ensembles, where architecture, sculpture and painting merge together;
• an increase in scale, massiveness, distortion of classical proportions, when order elements cease to be proportionate to a person;
• the emergence of a solid and unified facade, which becomes a kind of decoration for the building, designed for the effect of perspective reduction;
• the creation of a deliberately curved, almost illusory space due to the fluidity of curvilinear shapes and volumes (an oval in plans and details, an ellipse instead of a circle, a rectangle instead of a square);
• strengthening of the decorative principle, detailing, the illusory disappearance of the wall in the mass of decorations, sculptures, mirrors, windows (); the use of saturated colors and gilding, the creation of optical visual effects due to the refraction and reflection of sun glare, side lighting, contrasting alternation of illuminated and dark areas.

Characteristic features of baroque architecture.

Geography of the spread of the Baroque style in the architecture of European countries

... P. P. Muratov (art historian). Images of Italy by Lorenzo Bernini (1598 - 1680), Italian architect "width \u003d" 640 "

Architectural ensembles of Rome. Lorenzo Bernini

palaces and churches constitute the unchanging and typical

the city limits. It is necessary to look for Rome antique, Christian, medieval, Renaissance Rome. But there is nothing to look for in Baroque Rome - it is still the Rome that each of us recognizes first of all. Everything that defines the character of the city - its most notable buildings, main squares,

lively streets, all this is created here baroque,

and everything faithfully keeps his seal.

• P. P. Muratov (art historian). Images of Italy

Lorenzo Bernini (1598 - 1680), Italian architect

Architectural ensembles of Rome. Lorenzo Bernini

• Lorenzo Bernini (1598 - 1680), Italian architect, sculptor, painter, comedian, director of enchanting performances, actor, creator of the most complex theatrical scenery.
• At the age of 25, he became a celebrity, worked on the formation of the architectural appearance of Rome, carried out countless orders from the Vatican. Master, genius of the Baroque.

L. Bernini. Square in front of the cathedral

Saint Peter. 1657-1663 Rome

The main creation of L. Bernini is the decoration of the square in front of the cathedral ohm Saint Peter ... The square has become a colossal stage for ceremonies. The depth of the square is 280 m. 96 statues of saints, columns ( h \u003d 19m) in 4 rows united by a bending tape balustrades .

• Francesco Bartolomeo Rastrelli (1700-1771) - the son of a sculptor, Italian by birth, born in France.
• Having received his education abroad, he then worked only in Russia, which became his second homeland. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries.

Typical style techniques

FB Rastrelli were: contrasting

comparison of shapes and volumes,

vertical rhythm, visual effect

vibrations of the wall plane,

use of double plastic

columns retreating and

advancing risalit s (part

building serving as the main

facade line), use

statues, flowerpots, huge dips

windows, volutes, oval windows.

The Grand Palace in Peterhof (1745-1755). Architect F.B. Shot

St. Petersburg architecture and its surroundings. F.B. Rastrelli

• Rastrelli's architectural masterpieces include the Winter Palace in St. Petersburg (1754-1762), country residences - the Grand Palace in Peterhof (1745-1755), the Catherine Palace in Tsarskoe Selo (1752-1757), the private city palaces of M.I. Vorontsov (1749- 1757) and the Stroganovs (1752-1754), churches and monasteries - St. Andrew's Church in Kiev (1748-1762), Smolny Monastery in St. Petersburg (1748-1754).

St. Petersburg architecture and its surroundings. F.B. Rastrelli

F. B.

Rastrelli.

Winter view

palace with

parties

Dvortsovaya

Squares.

These days in

him

situated

art

hermitage Museum

The total length of the facades is 210 m. The palace was one

of the tallest structures. At the roof level, a balustrade with

stone sculptures and vases. 22 types (!) Of trim frames

huge windows. The palace had over 1050 separate rooms and

rooms, 1886 doors, 1945 windows and 177 stairs.

St. Petersburg architecture and its surroundings. F.B. Rastrelli

Cathedral of the Smolny Monastery

was ordered by the master

empress Elizabeth

Petrovna. Traditional Russian

five-headed embodied in

pretentious baroque forms, here

organically merged with the main

the volume of the building. Middle chapter

the cathedral is a high

double domed dome, topped with

bulbous head on light

drum. Four tall

two-story towers, almost close

pressed against the central dome,

Give the five-chapter an amazing

solidity and power.

Decorative decoration

cathedral strikes with elegance.

Clear wall protrusions, decorated

bunches of columns, pediments

various shapes, gently

rounded volutes,

overhanging cornices.

The first convent of St. Petersburg -

Resurrection Novodevichy Convent built

on the site of the former Smolyany yard. From here

Rastrelli .

Catherine Palace

In Tsarskoe Selo

Grand Palace with

water cascade. Peterhof

• Famous Russian architect of Italian origin. The most prominent representative of the Russian baroque. FB Rastrelli combined elements of European Baroque with Russian architectural traditions, which he borrowed primarily from the Naryshkin style, such as bell towers, roofs, and colors.
• In 1763, with the coming to power of Catherine II , resigned and left Petersburg .

Bartolomeo Francesco de Rastrelli (Varfolomey Varfolomeevich) (1700-1771) - Russian architect, decorator and graphic artist.

test questions

1. How can you explain that in the XVII century. architecture was

leading art form? What are the characteristic features

architecture of Western European Baroque? What, on your

look, distinguished baroque buildings from the works of architects

the Renaissance? Why Baroque architecture caused

extremely conflicting judgments?

2. Why Italy is called the birthplace of architectural

baroque, and Rome its capital? Prove justice

these statements using the example of works you know

Lorenzo Bernini. What distinguishes artistic style

architect?

3. What features of style could you mark in your work?

FB Rastrelli? What distinguishes the structures he created from

works of architecture known to you

western European Baroque? To what extent does an architect

did you manage to embody the traditions of ancient Russian architecture?

Give reasons for your answer.

to organize the space around you in the form of a whole ensemble? 2. What urban planning ideas were put forward by baroque art and what is the essence of their imagery? Try to illustrate your observations based on the main creation of L. Bernini - the square of St. Peter's Basilica in Rome. 3. What ensures the stylistic integrity of the ensembles of country residences created by FB Rastrelli (the Grand Palace in Peterhof or the Catherine Palace in Tsarskoe Selo)? How do they solve the problem of the synthesis of arts (sculptural decor, interiors, furniture, etc.)? "width \u003d" 640 "

Creative workshop

1. Compare the Baroque buildings you know with those of the Renaissance. Why do you think a baroque building should organize a space around itself in the form of a whole ensemble?

2. What urban planning ideas were put forward by baroque art and what is the essence of their imagery? Try to illustrate your observations based on the main creation of L. Bernini - the square of St. Peter's Basilica in Rome.

3. What ensures the stylistic integrity of the ensembles of country residences created by FB Rastrelli (the Grand Palace in Peterhof or the Catherine Palace in Tsarskoe Selo)? How in them

is the problem of the synthesis of arts being solved (sculptural decor, interiors, furniture, etc.)?

Themes of presentations, projects

• "Masterpieces of Western European Baroque Architecture";
• "Achievements of the Italian Baroque";
• "Lorenzo Bernini - the genius of the baroque";
• "Rome - the capital of the architectural baroque";
• "National originality of the development of the Baroque style in Russia";
• FB Rastrelli's Petersburg;
• "Palace ensembles of FB Rastrelli in St. Petersburg and its suburbs."

• Today I found out ...
• It was interesting…
• It was difficult…
• I learned…
• I was able to ...
• I was surprised ...
• I wanted…

Literature:

• Programs for educational institutions. Danilova G.I. World Art. - M .: Bustard, 2011
• Danilova, G.I. Art / MHC. 11 cl ... Basic level: textbook / G.I. Danilov. M .: Bustard, 2014.
• Baroque architecture. Author Selezneva

Contents: The emergence of the Baroque style; The main signs of the Baroque; Baroque architecture in Italy; Baroque architecture in France; Baroque architecture in Belgium; Baroque architecture in Germany; Baroque in Russia.

The emergence of the Baroque style The Baroque style slowly matured in the architecture and sculpture of the High Renaissance. So, Michelangelo, with the power and expression of his individual style, in an instant destroyed all the usual ideas about the "rules" of drawing and composition. The mighty figures painted by him on the ceiling visually “destroyed” the pictorial space allotted for them; they did not fit either the scenario or the space of the architecture itself. J. Vasari, the famous chronicler of the Renaissance, amazed like others, called this style "bizarre, out of the ordinary and new." Michelangelo, Sistine Chapel ceiling, 1508-1512

Rome is considered the birthplace of the Baroque, and the most striking examples of architecture of this style were created in Italy, Spain, Portugal, South Germany, Czech Republic, Poland, Lithuania, Spanish and Portuguese colonies in Latin America. In all these countries, the Catholic Church was very influential and thus the Baroque became the style that it adopted. The beginning of the new style is usually considered the construction of a small church of the Jesuit order - Il Gesu in Rome, begun in 1568 according to the project of Giacomo Vignola.

One of the main artistic features of the Gesu Church is the unique fresco of the Triumph of the Holy Name of Jesus on the ceiling of the church. The figures painted in a special way create the illusion that they are hovering under the ceiling and even cast a shadow on it, while in fact they are painted on the same plane. The frescoes of Il Jesu, at 22, were painted by Giovanni Battista Gaulli, a talented artist from Genoa, with the support of the renowned sculptor Bernini.

The process of birth of a new style can be observed on the main façade overlooking a small square, made in 1575 according to the project of Giacomo della Porta: the columns and pilasters move towards each other, group in pairs, the entablature breaks, the surface of the façade is overloaded with strong rhythmic elements.

The main signs of the Baroque Baroque art is characterized by grandeur, splendor and dynamics, pathetic elation, intensity of feelings, addiction to spectacular spectacles, combining the illusory and the real, strong contrasts of scales and rhythms, materials and textures, light and shadow. The synthesis of arts in the Baroque, which has an all-encompassing nature and affects almost all strata of society (from the state and aristocracy to the urban lower classes and partly the peasantry), is characterized by a solemn, monumental and decorative unity that amazes the imagination with its scope. The palaces and churches of the Baroque, thanks to the luxurious, whimsical plasticity of the facades, the restless play of light and shade, complex curvilinear plans and outlines, acquired picturesque and dynamism and, as it were, merged into the surrounding space. Würzburg Palace. Architect: Johann Dietzenhofer, from 1719 Balthazar Neumann headed the construction.

The ceremonial interiors of Baroque buildings were decorated with multicolored sculpture, molding, carving; mirrors and paintings illusoryly expanded the space, and the painting of the plafonds created the illusion of opened vaults. Interior interiors of the Würzburg Palace In the visual arts of the Baroque, virtuoso decorative compositions of a religious, mythological or allegorical nature, ceremonial portraits, emphasizing the privileged social status of a person, prevail.

Guarino Guarini. Church of San Lorenzo, Turin, 1666-1687 In the baroque, the following was noted: the complexity of volumes and space, the mutual intersection of various geometric shapes; the predominance of complex curvilinear forms in determining the plans and facades of structures; alternation of convex and concave lines and planes; active use of sculptural and architectural and decorative motives; uneven distribution of architectural funds; creation of a rich play of light and shade, color contrasts, dynamism of architectural masses.

Idealization of images is combined in them with violent dynamics, unexpected compositional and optical effects, reality with fantasy, religious affectation with an emphasized sensuality, and often with acute naturalness and materiality of forms, bordering on illusion. In baroque works of art, real objects and materials are sometimes included (statues with real hair and teeth, chapels made of bones, etc.). Guarino Guarini. Church of San Lorenzo, interior.

Baroque architecture in Italy The first architect of the new generation, in whose work there was already a transition to large architectural tasks, was Carlo Maderna. In 1603, after the death of Della Porta, he was appointed chief architect of St. Peter's Basilica in Rome (started by order of the Pope in 1607), the completion of which became his main work. At the insistence of Pope Paul V, Michelangelo's central structure in the shape of a Greek cross was rebuilt into a traditional early Christian basilica in the shape of an elongated cross. In 1607-1614 Carlo Maderna added three long naves to the domed part of the church, the previously created building became the altar part of a new, even more grandiose church.

The canopy over the burial of St. Peter The canopy, which now stands in the middle of the cross of St. Peter's Cathedral, over the altar and over the place where the Apostle Peter is buried, was built in 1624-1633. There are several of his projects, probably belonging to Carlo Maderno and created at the end of the reign of Paul V. But in 1624 Bernini was commissioned to work on its arrangement, and at first he was instructed to make only four bronze columns ten meters high. Bernini installed them in the cathedral in the summer of 1627. Only the following year was a contract signed to complete the canopy. By this time the project of completion was already ready, and the carver Giovanni Battista Soria made his model for Bernini. But the council of cardinals, in charge of the cathedral's affairs, rejected the project, listening to the opinion of people who believed that it was not feasible.

The columns were supposed to be connected by semicircular arches located cross-and-cross and intersecting in the center, where a large statue of the ascending Christ should have stood. The entablature was not supposed to be done; therefore, the columns, naturally, would not withstand the expansion of the arches, weighted by the colossal bronze statue. Bernini created a new project, with an entablature and without a statue of Christ, although he did not immediately abandon it: in 1628 he was still preparing to cast it. Instead, a colossal cross was erected on the basis, which is a complicated motif of the same intersecting arches.

The architect of St. Peter's Square was Gian Lorenzo Bernini. This masterpiece of architectural genius was founded in 1656-1667. Lorenzo Bernini performed work for St. Peter's Basilica from 1624 until the end of his life.

An area was required that would accommodate the large number of believers who flock to the cathedral to receive papal blessings or to take part in religious festivals. This task was fulfilled by Giovanni Lorenzo Bernini, who created the square in front of the cathedral - one of the most outstanding works of world urban planning practice.

In the 1930s, Mussolini built the wide street of Reconciliation (Italian: Via della Conciliazione) from the center of Rome to the square. View of St. Peter's Cathedral from Reconciliation Street

The square often became a place of papal worship. It was here, in front of the main cathedral of the Catholic world, that a huge number of pilgrims speaking different languages \u200b\u200bshould have felt their spiritual unity. And to implement these ideas, Bernini found a wonderful solution. The space in front of the temple has turned into an ensemble of two squares: the first, in the form of a trapezoid, is framed by galleries extending from the cathedral; the second is oval-shaped, facing the city and framed by two colonnades.

On either side of the majestic staircase, also designed by Bellini, there are two colossal statues from the 19th century. : left - St. Peter, right - St. Paul

Received in the Middle Ages the name "needle" obelisk was brought to Rome from Heliopolis by the emperor Caligula in 37; Nero installed it in his circus, which is now replaced by St. Peter's Cathedral. This is the only obelisk in Italy that has never fallen. In addition, the square is designed in such a way that the obelisk plays the role of a gnomon - its shadow is the hand of a huge sundial.

With a total population of the Vatican of about 820 people, thousands of parishioners gather here on Sundays, and on Easter day their number disappears into hundreds of thousands. So, in 2009, Pope Benedict XVI, in the presence of Easter Mass and congratulations on Easter in 63 languages, was traditionally voiced by the Pope in the presence of St. Peter's Square in the Vatican.

In October 2008, a marathon was held here. But not sports, but biblical. Then 1248 readers of various nations and religions continuously read verses from the Bible for 140 hours. Among them were three former presidents of Italy, the Master of the Order of Malta, famous journalists, filmmakers and actors. Also, three blind people took part in the marathon, and one of the fragments was demonstrated in the language of the deaf and dumb. View of St. Peter's Cathedral.

Church of Sant Andrea in Quirinale, Rome. Lorenzo Bernini, 1653 In 1653, Lorenzo Bernini built the small church of Sant Andrea in Rome on Calle Quirinale, one of the most outstanding Baroque buildings. Perhaps this is the best creation of an architect. In it, all forms are built on curvilinear elements, and the architecture is perceived in movement, but surprisingly smoothly calm.

The facade of the Church of Sant Andrea in Quirinale Bernini created a double, giving it great plastic strength and clarity of lines: a portico with columns adjoins the main part, formed by an order of two floors and crowned with a triangular pediment. The massiveness of the former contrasts sharply with the grace of the latter. The semi-oval steps seem to flow down from the picturesque two-column portico supporting the semicircular antamble. Its curved lines intersect in perspective with the cornice of the large semicircular window on the western façade. The entire composition of the entrance is inscribed in a large portico with high Corinthian pilasters on both sides and a triangular pediment.

Church of San Carlo alle Cuatro Fontane, Rome. Francesco Borromini, 1638-1677 Borromini gained recognition with the construction of the small Franciscan church of San Carlo alle Cuatro Fontane (Saint Charles at the Four Fountains) in Rome. The small church attracted the attention of all of Rome, and its fame quickly spread throughout Europe. Perhaps the inconvenient location of the church - at the intersection of two streets - forced the architect to make an unusual decision - in one building he connected modules that no one had combined before him - 3 modules that could usually only be used in three different buildings: - undulating lower zone; - average according to the traditional plan of the Greek cross; - the building is crowned with an oval dome, which was rarely used before.

This complex combination is combined with complex interwoven rhythms. The exterior of the church was organized by Borromini with the expectation of creating an impression of heightened picturesqueness. The facade is divided into two tiers, each of which is endowed with a warrant. The main part of the facade is like a decorative applique applied to the wall surface. The cornices have a complexly curved, wavy shape. There are no smooth surfaces at all. In the intercolumines there are niches with sculptures, four sculptural groups with fountains and determined the name of the church.

The internal space of the church is no larger than one column of St. Peter's Cathedral. The church nave resembles two bells in outline, adjoining each other with their bases. This shape made it possible to give all the inner walls a wave and crown the building with an oval dome. There is a large discrepancy between the external and internal dimensions of the church, only partially functionally used.

Bold illusionary effects are achieved through carefully calculated lighting that expands the interior of the church. The dome, colored with all the colors of the rainbow, seems to be torn off from its base. The dim lighting is oddly consistent with the delicate curves of the walls. It seems that the dense, heavy mass of the stone is constantly changing right before our eyes - this is the motive of the transformation of matter loved by baroque masters.

Church of Santa Maria in Campitelli, Rome. Carlo Rainaldi, 1663 -1667 Among the most characteristic Baroque churches in Rome is Santa Maria in Campitelli (1663-1667), built on the site of an older church to commemorate the deliverance from the plague. It shows more of the Northern Italian than the Roman style.

The two-tiered facade of the church resembles the Ile-Jezu Church. The high, impressive facade wall, "covering" the main volume of the structure, is tectonically built on the diverse use of two column porticos, now protruding forward, then receding, emphasizing the vertical plan. The completion is effectively and beautifully conceived, in the form of a combination of bow and triangular pediments arranged in each other.

The church houses the miraculous icon of the Mother of God (Madonna del Portico), made in a rare enamel technique for Rome. It is believed that this image, placed in a golden tabernacle, protects the Romans from a terrible disease.

Palazzo Carignano, built by the great architect Guarino Guarini in 1679, has earned recognition as the most beautiful city palace of the second half of the 17th century in Italy. With a billowing façade, an imposing double curved staircase and a double dome in the stunning living room, the palace makes a lasting impression. Palazzo Carignano, Turin. Guarino Guarini, 1679

The general structure of the building is associated with a Renaissance palazzo (a prismatic volume, a closed courtyard), however, an element of "surprise" is introduced into this traditional scheme: the central part of the main building is like an insert into the main volume. The front lobby and the main staircase are located here. The lobby has acquired an oval shape in plan, the flights of the stairs are curved with curved outlines.

The details of the facade are specific, in particular the window frames, the "texture" of the first floor pilasters and others. Despite the small scale, these forms are distinguished by plastic juiciness. The originality of a number of motives is determined by their connection with the decorative forms of Moorish architecture, the monuments of which Guarini observed when he was in his early period in Sicily. There are also transformed motives of Gothic origin in his works. All of them in the aggregate gave the works of this master great sharpness and even extravagance.

Palazzo Ca'Pesaro (today the Correr Museum), Venice. Balthasar Longena 1652/1659 -1710 Typical of the Venetian Baroque architecture is the Palazzo Ca 'Pesaro, which rises on the right bank of the Grand Canal, opposite the Ca d' Oro. The majestic facade of the Palazzo Pesaro is distinguished by a great richness of external decoration. The structure of the building corresponds to the traditions that have developed here - it is three-story, the first floor is more massive - the wall is faced beveled rusticated, the upper two are opened by a system of large arched windows, in which orders are applied.

Every, even a small section of the wall, in particular the sinuses of the arches above the windows, was used to place the sculpture. All this gives the building a purely Venetian flavor. The building is especially striking by the combination of massive architectural forms (powerful rustication of the first floor, plastic columns and loose cornices, lush sculptural decor) and the slenderness of the overall structure of the facade.

Baroque architecture in France For the patron of the architect, Cardinal Richelieu, Jacques Lemercier built the Palace. Cardinal (later renamed Palais Royal), in Paris. His amphitheater was one of the first structures in France built exclusively for theatrical purposes. Palace Cardinal (later renamed Palais Royal), Paris. Jacques Lemercier, 1629

Palais Royal (French Palais Royal - "royal palace") is a square, palace and park located in Paris opposite the northern wing of the Louvre ...

Under Louis XIV and his successors, the palace served as the city residence of the Dukes of Orleans, and during the childhood of Louis XV, it was from here that the prince reigned over the whole of France. In one of the outbuildings, the "Sun King" settled his favorite, the Duchess de Lavaliere; there she bore two illegitimate sons to the king. At the beginning of the 18th century. the palace apartments were renovated in the rococo style, which was just becoming fashionable at that time. These interiors were destroyed in 1784, when a theater building was erected on the site of part of the palace to house the Comedie Française. The Palais-Royal theater, which existed before that, was as closely connected with the life and work of Moliere as the London Globe was with the work of Shakespeare.

Around the same pre-revolutionary years, the owner of the palace, the Duke of Orléans, later known as Philip Egalite, opened the gardens for everyone to visit and erected magnificent colonnades with benches on the square. This manifestation of populism earned the Duke of Orleans the favor of the widest strata of Parisian society. Soon the most fashionable clubs and coffee shops of the city shone here.

Nikolai Karamzin, who visited Paris in 1790, called the Palais Royal its capital: “Imagine a magnificent square castle and at the bottom of its arcades, under which all the treasures of the world, the riches of India and America, diamonds and diamonds, silver and gold shine in countless shops; all works of nature and art; everything with which the royal splendor was ever adorned; everything invented by luxury for the enjoyment of life !. ...

And all this is laid out in the most beautiful way to attract the eyes and illuminated with bright, multi-colored lights that dazzle the eyes. “Imagine a multitude of people crowding in these galleries and walking up and down just to look at each other! - Here you see coffee houses, the first in Paris, where everything is also filled with people, where they read newspapers and magazines aloud, make noise, argue, speak speeches and so on .... Everything seemed to me a charm, the Calypsin Island, the Armidin Castle "(" Letters from a Russian Traveler ", letter dated March 27, 1790).

Versailles, France. Leading architects - Louis Levo and Jules Hardouin-Mansart, the creator of the park - André Le Nôtre, since 1661. Versailles was built under the leadership of Louis XIV since 1661, and became a kind of monument to the era of the "sun king", an artistic and architectural expression of the idea of \u200b\u200babsolutism. The leading architects are Louis Levo and Jules Hardouin-Mansart, the creator of the park is André Le Nôtre. The ensemble of Versailles, the largest in Europe, is distinguished by a unique integrity of design and harmony of architectural forms and a transformed landscape. Since the end of the 17th century, Versailles has served as a model for the ceremonial country residences of European monarchs and aristocracy, but there are no direct imitations of it. From 1666 to 1789, before the French Revolution, Versailles was the official royal residence. In 1801 it received the status of a museum and is open to the public.

The original building, with its Marble Courtyard, was put into a new U-shaped building as if in a case. The facades of the reconstructed and expanded palace were decorated on the basis of the classicist system, the main role in them is played by the colonnade located on the level of the second - the main floor The first acquired the meaning of the podium supporting the order. The third floor is designed as an attic. High roofs so typical for France are absent, the roof is hidden behind a parapet. The baroque theme emerges only in sculpture, which contrasts with the straight geometric outlines of the building with a rebellious agitation of forms. In the appearance of the facades, a classicist tendency is clearly expressed, which begins to prevail in the external forms of French architecture of the middle and second half of the 17th century.

The history of the Palace of Versailles begins in 1623 with a very modest hunting castle, like a feudal one, built at the request of Louis XIII from brick, stone and slate roofing on the territory purchased from Jean de Soisy, whose family owned the land since the 14th century. The hunting castle was located in the place where the marble courtyard is now located. Its dimensions were 24 by 6 meters. In 1632, the territory was expanded by the purchase of the Versailles estate from the archbishop of Paris from the Gondi family, and a two-year reconstruction was undertaken.

A city gradually emerged around the palace, in which the artisans who supplied the royal court settled. Louis XVI also lived in the Palace of Versailles. During this time, the population of Versailles and the adjacent city reached 100 thousand people, however, it quickly declined after the king was forced to move to Paris.

The interiors of the monumental buildings of France of this time were distinguished by a particularly elegant decoration, they were of a ceremonial, baroque character. The decoration of the War and Peace halls of the Versailles Palace, located at the corners of the park facade of the building, is characteristic. The stylistic opposition of almost classicist exteriors and baroque interiors is a specific feature of French architecture of this time.

The Mirror Gallery is the most famous interior of the Palace of Versailles. The huge hall is 73 meters long and 10 meters wide. Seventeen arched windows face the garden, between them there are openings with mirrors, creating a sense of the boundlessness of the hall.

Baroque architecture in Belgium For the development of baroque architecture in Belgium, the work of the famous artist P. -P. Rubens. His trips to Italy and Spain contributed to the assimilation of the forms of Renaissance and Baroque architecture by the Belgian architects in these countries….

Rubens was the author of a large number of architectural and decorative works (triumphal arches and other structures) that have come down to us in the form of oil sketches and engravings. Rubens owns a project for his own house in Antwerp, modeled on Italian palazzo, its design is distinguished by the originality of the composition. Now it is the artist's house-museum. House of Rubens. Facade.

The main thing that has remained almost unchanged since the time of Rubens is the elegant portico in the Italian Baroque style, connecting the residential building and the workshop. Like the front of the workshop from the courtyard side, the portico was designed by the artist himself. He was very proud of this building and often depicted it in paintings. The portico was restored in accordance with the engraving of 1684, which shows the house of Rubens 44 years after the death of its first owner. ... ...

It is crowned with bronze figures of Mercury and Minerva made for him in 1939 and decorated with oval cartouches with Latin texts that reflect Rubens' interest in Stoic philosophy. These are two quotes from the Satyrs by the Roman poet Juvenal (2nd century AD): “Let the gods decide what is appropriate for us and what is useful to us. A person is dearer to them than to himself "and" We must pray that there is a healthy mind in a healthy body, that the soul is courageous and free from the fear of death, and let it not know anger and desire nothing. "

Baroque architecture in Germany Würzburg bishop's residence. The construction of the buildings of the residence lasted from 1720 to 1744, and finishing - up to 1780. Architect - Balthazar Neumann. The bishop's palace stands in the very center of Würzburg, on the Residenzplatz square. The residence of the bishops is the last and most beautiful palace in a series of Baroque buildings of this type, built in Bavaria in the 17th-18th centuries.

The new palace was to become a symbol of church power and a vivid expression of the ideas of absolutism. Prior to this, the bishops used the Marienberg fortress, located on a mountain on the opposite bank of the Main, as a residence. The palace includes over 340 rooms.

The famous creation of Balthasar Neumann is a staircase with unsupported vaults, decorated with the world's largest ceiling frescoes by Tiepolo.

Eminent craftsmen from Paris, Vienna, Genoa, Venice and Amsterdam worked on the residence of the Würzburg princes-bishops for almost six decades, starting in 1720. For example, the Italian Giovanni Battista Tiepolo painted in Würzburg the largest ceiling fresco in the world Staircase by B. Neumann

Giovanni Battista Tiepolo stands out from all the painters, sculptors and sculptors with his unique works. The works of art, damaged during the Second World War and later restored, are located in the central Imperial Hall, where you can climb the double staircase - the most beautiful and largest in Europe of that era. The murals in the Imperial Hall show the marriage of Frederick Barbarossa to Beatrice of Burgundy and the Bishop of Würzburg, who receives the Franconian Duchy.

The residence was added to the UNESCO World Heritage List in 1981. The palace became the third German site to receive this prestigious international status - after the cathedral in Aachen (Aachener Dom) and simultaneously with the cathedral in Speyerer (Dom).

Zwinger, Dresden, 1719 Architect M. Pöppelmann This masterpiece of baroque art was built in 1719 on the model of the palace and park ensemble of Versailles by the architect M. Pöppelmann for Augustus the Strong (Elector of Saxony and King of Poland). Its name comes from the German word “to conquer”, “to conquer”: the area where the Zwinger is located used to be part of the Dresden fortress, containing an inner and outer walls, in the space between which a possible enemy must be destroyed.

The Zwinger was built for about 20 years under August II the Strong, King of Poland and Elector of Saxony (Frederick August I, 1694–1733), and received its final appearance almost by accident. From the very beginning, no clear plans were created for its construction, in addition, several times during the construction of buildings the purpose of the Zwinger changed: it was conceived as a greenhouse, and as a result, it became the Royal Complex of Natural Science Museums.

The seat of the Saxon electors - Dresden at the beginning of the 18th century. was a powerful star-shaped fortress. Such contours arose due to the fact that the bastions made of sandstone slabs (the most beautiful and expensive material in the country) protruded sharply forward. Where the Zwinger is now located, there was the Luna Bastion, and inside it was the Zwinger Garden, whose name was associated with the fortress. In the then fortification business - the science of building fortifications - the concept of "zwinger" meant a place between two ramparts converging at an acute angle.

The king and the architect M. D. Pöppelman seemed to compete in their ingenuity and, in the end, instead of a greenhouse, a building for festivities and solemn ceremonies arose. True, much had to be sacrificed for this: they demolished part of the existing buildings and part of the bastions that defended the city, deepened the fairway of the Elbe River, starting from the city of Königstein, in order to deliver powerful sandstone blocks for supports, columns and monumental sculpture along it from the quarries.

Back in 1709, the architect proposed to build two rounded galleries instead of terraces - permanent winter rooms for trees. Pöppelmann placed the rounded galleries on a low terrace connected to the garden by a staircase, and on their roofs he created an upper terrace for the promenade. The windows of the galleries reached the floor, in front of each window there was a console, on which it was convenient to carry citrus trees in heavy tubs in warm weather.

Augustus the Strong sent Pöppelman to Vienna and Rome to see how palaces and gardens should be built. Returning in 1710, Pöppelmann proposes to the king to attach two two-story pavilions to the Rounded Galleries, and to use the height difference between the Zwinger Rampart and the garden for the construction of cascades and fountains….

Water, both standing and flowing, acquired a special function in architecture during the Baroque period. This is how the “water theater” appeared in the Zwinger, later called the Bath of Nymphs. The architecture was enlivened by water and beautiful sculptures made by Balthazar Permozero together with assistants.

In 1715 Pöppelman was sent to Paris to study palace buildings and their interiors. At the same time, the architect solves a problem that he had been struggling with for several years - the design of the junction between the western Rounded galleries - Pöppelman planned a whole structure here - the Pavilion on the Wall, which was supposed to crown the entire architectural group and perform several important functions: it houses the entrance doors to both Rounded galleries, stairs, three fountains forming a grotto, and a small ceremonial hall.

By 1730, the Zwinger became the most significant complex of natural science museums in Europe; along with graphics, exhibits of the Kunstkamera, collections of minerals, fossils, shells, corals, amber, materials on zoology, botany, anatomy were presented, and it was also possible to use the natural science library. Now the Zwinger is called not a greenhouse, but the Royal Palace of Sciences, holidays were no longer held there.

The baroque facades of the Zwinger are devoid of flat surfaces. Columns, pilasters, niches, ledges, recesses and other decorative forms form a picturesque relief. Extremely great importance was attached to the sculptural figures made under the guidance of the court sculptor B. Permozer, who was already over 60 during construction. Permozer, the son of a Bavarian peasant, was an unusually lively person, dressed and behaved at his own discretion, and in his works he violated the laws of anatomy ... His cheerful childish figures had folds of fat, round bellies and overly thick cheeks, the fauns had oversized goat hooves, and the young women had exorbitantly long curved necks.

Permozero had many assistants who were faithful to the method of stone processing he developed and the form, which is now called the Zwinger style. Among them were famous masters: Benjamin Tome, Paul Hermann, Johann Joachim Kretschmar, Christian Kirchner, Paul Egel.

The Zwinger often suffered from wars, the first serious damage inflicted by the Prussian army during the Seven Years' War (1756-1763). In addition, an ensemble of sandstone was built - a rather soft stone subject to weathering. Therefore, already in 1783, restoration work began, led by I.D.Shade. Since then, restoration work has been ongoing for over 200 years.

In 1849, during the revolutionary battles in Dresden, a severe fire broke out - almost the entire eastern part of the Zwinger was burnt down. By 1857, part of the buildings had been restored by K. M. Henele, who unknowingly caused great damage: until 1863, the statues and walls under his leadership were covered with linseed oil, which caused the destruction of sandstone.

Since 1910 the drying oil was removed with a solvent, and the buildings and sculptures were partially reconstructed. By 1936, the restoration was completed, but on February 13, 1945, the Anglo-American air force bombed the center of Dresden, and the Zwinger was badly damaged. Until 1964 (19 years old), restoration work continued there under the leadership of G. Ermish and A. Braun, who were later replaced by architect. Frenzel and the sculptor Schlesinger. The restoration work in the Zwinger cost 20 million marks.

In 1962, the porcelain museum was located in the premises from the Rounded Gallery of the Bell Pavilion to the eastern Direct Gallery. The Western Rounded Gallery houses the Museum of Zoology, and the 1st floor of the French Pavilion houses an exhibition on court hunting.

Baroque in Russia A significant landmark of the religious architecture of the Baroque era is the Church of Clement of the Pope in Zamoskvorechye, which is also revered by the Orthodox. Built with funds from Chancellor Bestuzhev and designed by Pietro Trezzini (1742-1747). It was first mentioned in written sources under this name in 1612, in connection with the events of the Moscow battle between Russian militias and the Polish-Lithuanian army of Hetman Chodkiewicz. On August 24, 1612, at the "prison (Klimentyevsky prison), which was at the Pope's Clement," heavy battles unfolded between the Cossacks defending the prison and the infantry of Hetman Chodkevich ...

During these battles, when the hetman's troops captured the prison and the church of St. Clement, St. Avraamy (Palitsyn) performed one of his exploits, stopping the retreat of the Cossacks from the prison. As St. Abraham: “the Cossacks, who ran out of the prison of St. Clement, and were angry at the prison of St. Clement, saw the Lithuanian banners on the church ... have begun, and take him. "

In his book of memoirs, Apollo Grigoriev wrote the following: “But it is not the church of Pyatnitsa-Praskoveya that strikes and stops your gaze from the Kremlin summit, when you, gradually deviating your eyes from the southeast, lead them towards the south, but the five-domed, magnificent church of Clement of the Pope Roman. In front of it, you will stop and walk along Pyatnitskaya: it will amaze you with the severity and majesty of its style, its even harmony of parts ... But it stands out especially from the countless variety of patterned churches and bell towers, also original and unusually picturesque from a distance, with which the south-eastern part of "Zamoskvorechye" ...

The Winter Palace in St. Petersburg - the former imperial palace, is currently part of the Main Museum Complex of the State Hermitage. The building of the palace was built in 1754-1762 by the Italian architect B. F. Rastrelli in the style of magnificent Elizabethan baroque with elements of French rococo in the interiors. The three-story building in the plan has the shape of a square of 4 wings with an inner courtyard and facades facing the Neva, the Admiralty and Palace Square. The splendor of the building is given by the magnificent decoration of the facades and premises.

Variously arranged facades, strong projections of projections, accentuation of stepped corners, changeable rhythm of columns create an impression of restlessness, unforgettable solemnity and splendor. The palace building has 1084 rooms, 1945 windows, 117 stairs (including secret ones). The length along the facade from the side of the Neva is 137 meters, from the side of the Admiralty - 106 meters, the height is 23.5 meters. In 1844, Nicholas I issued a decree banning the construction of civil buildings in St. Petersburg above the height of the Winter Palace ...

They had to be built at least one fathom less. Despite the restructuring and innovations, the main planning scheme of the palace preserved the ideas of F.-B. Rastrelli. Palace buildings are formed around the Grand Courtyard. In the northwestern and southwestern wings, instead of the "Throne Hall" and the "Opera House", light courtyards were created, around which enfilades of living quarters were formed.

The three-storey building of the palace has a semi-basement and numerous mezzanine floors, some of the ceremonial halls of the second floor are double-storied. The engineer M. E. Clark designed triangular trusses - "roof trusses" to support the roof of the Winter Palace, and "blown elliptical beams" for the ceiling of the palace halls. The sprengels and beams were manufactured at the Aleksandrovsky plant, while only two metal processing technologies were used: forging and casting. A wide variety of connections were used in the structures: on bolts, rivets, wedges, clamps; forging welding was also used.

After cases of deformation of structures, to prevent displacement between the trusses, spacers were installed. The temperature regime, and hence the behavior of metal structures, depended on the quality of the attic insulation. On August 9, 1841, an accident happened - the ceiling collapsed in the St. George Hall. The commission investigating this case came to the conclusion that the I-beams rested on the "precarious places" of the load-bearing walls. During the restoration, sprengels were already used.

The facades and roof of the palace changed the color scheme several times. The original color had a very light warm ocher coloration with an emphasis on the order system and plastic decoration with white lime paint. In the minutes of the Office of the buildings, it is said about the leave for these works of lime, chalk, ocher and cherry. In later documents there are names such as "pale yellow with white", "the color of a wild stone."

Until the fire of 1837, there were no fundamental changes in the color of the palace, with the exception of the roof, which in 1816 changed its color from white-gray to red. During the post-fire repairs, the color of the facade was made up of slaked Tosno lime, ocher, Italian mummy and part of the Olonets land, which was used as a pigment and had an ivory shade, while the roof is painted with iron red lead, giving it a brown-red color.

In the second half of the 1850s - 1860s, under Emperor Alexander II, the color of the palace facades changed. The ocher becomes denser. The order system and plastic decor are not painted with an additional color, but they acquire a very light tonal selection. In the 1880s, under Emperor Alexander III, the facades were split in two tones: a dense ocher expression with the addition of red pigment and a weaker terracotta tone. With the accession of Nicholas II in 1897, the emperor approved the project of painting the facades of the Winter Palace in the color of the “new fence of the Own Garden” - red sandstone without any tonal highlighting of the columns and decor.

The terracotta-brick color of the palace remained until the end of the 1920s, after which experiments and the search for a new coloration began. In 1927, an attempt was made to paint it gray, in 1928-1930. - in a brown-gray scale, and the copper-gouged sculpture on the roof - in black. In 1934, an attempt was made to paint the palace with orange oil paint, highlighting the order system with white paint, but the oil paint had a negative effect on stone, plaster and stucco decoration.

With the beginning of the Great Patriotic War, in order to disguise, the palace is painted with reversible glue gray paint. In 1945-1947, a commission consisting of the chief architect of Leningrad N.V. Baranov, the head of the State Inspectorate for the Protection of Monuments N.N.Belekhov, representatives of the Leningrad City Executive Committee, the State Construction Control, the State Hermitage and scientific consultants decided to paint the walls of the palace with chromium oxide with adding emerald pigment; columns, cornices, interfloor rods and window frames - in white; stucco decoration, cartouches, capitals - ocher, while it was decided to leave the sculpture black.

The theme of the program. Russian culture in the era of the Enlightenment.

Lesson topic "Russian Baroque Architecture"

goal : development of students' ability to emotionally and personally perceive the art of the Baroque and reflect on the peculiarities of Russian baroque architecture.

Tasks:

Expanding the knowledge of students about Russian architecture of the 17-18 centuries, updating the previously obtained information about the Baroque style as a cultural phenomenon of the 17th-18th centuries. in its main manifestations.

Development of students' ability to emotionally and personally live the work of art in question, the ability to analyze and critically comprehend the material.

Comprehension of the worldview accents of baroque art embodied in architectural monuments.

Formation of taste and value attitude to the phenomena of the culture of the past.

Lesson form : combined: a combination of group and individual creative activities.

Teaching methods: 1) emotional immersion; b) activation of the perception of imagination, creative thinking; c) creating a problem situation.

Concepts and terms: baroque, volute, pilasters, telamones, mascarons, risalit, enfilade, cartouche, rocaille.

Materials and equipment:

World Art. 10kl .: [textbook] L.А. Rapatskaya. - M .: Humanities. ed. Center VLADOS. 2010 (p. 218 - 219, 352 - 355);

Literature and art. Universal encyclopedia of the student. / Minsk. LLP "Harvest". 1995.

We read, learn, play. A collection of scripts for libraries. №1 2005. Section to help the teacher. “Baroque and Rococo. Architecture and Sculpture ".

computer, projector, screen.

Visual range: works by D. Trezzini, L. Bernini, V.V. Rastrelli.

Musical row: works by A. Vivaldi.

I .Exposition of the lesson.

Epigraph. Music by A. Vivaldi is played. The prepared student reads poetry.

…But before the beauty of both the building and the facade
The fountain, the marble, and the fence have faded.
In twisted ornament you will see here and there
Victorious helmet and vases of incense,
Columns, small caps, pilasters and arcades
You will see everywhere you do not look,
Cupids, monograms, intertwined secretly,
And lambs' heads entwined with lace
And you will find a statue in a magnificent niche,
In patterns, in carvings, the cornice under the very roof ...

Slide 1.

Teacher. This is how the French poet of the 17th century Georges de Suderi described his impressions of the architecture of this style.What style of art do you think these poetic lines are about? What is this style that seeks to surprise, delight and even stun the viewer?

Students' answers.

Teacher. Baroque - this word was used in Portugal for irregular pearls. It literally means, "artsy, bizarre." Why such an unusual word was given to the artistic style that was born at the end Xvi century.

Teacher. What architectural details of the Baroque style did Georges de Sudern capture in his poetic lines?

Students' answers.

What changes have been brought to baroque architecture?

Student message . Baroque architecture (L. Bernini, F. Borromini in Italy, BF Rastrelli in Russia) is characterized by spatial scope, cohesion, fluidity of complex, usually curvilinear forms, dynamism, splendor, whimsy.

Deployed large-scalecolonnades , an abundance of sculptures on facades and interiors,volutes , a large number of rivets, bow facades with ripping in the middle, rusticated columns and pilasters .

The domes acquire complex shapes, often they are multi-tiered, like those of St. Peter's in Rome.

Typical Baroque details -telamones , caryatids, mascarons .

Prevailing and trendy colors:muted pastel colors; red, pink, white, blue with a yellow accent.

Lines: bizarre convex-concave asymmetric pattern; in the form of a semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal division.

Forms: vaulted, domed, rectangular; towers, balconies, bay windows.

Constructions: contrasting, tense, dynamic; pretentious on the facade and at the same time massive and stable.

Typical interior elements:striving for greatness and pomp; massive front stairs; columns, pilasters, sculptures, stucco and painting, carved ornament; interconnection of design elements.

Thanks to the bizarre plasticity of the facades, complex curvilinear plans and outlines, baroque palaces and churches acquire picturesque and dynamism. They seem to flow into the surrounding space.

Slide 2.

Group work. 1group. Using a vocabulary of basic concepts, find on the cards and sign the main architectural elements of the Baroque.

Group 2. Describe the Baroque architecture of the building.

Group work views.

II. The tie. Lesson topic message. Baroque art is international. But there are different variations of the baroque. In Protestant countries baroque restrained, a little austere, which has not yet lost its Renaissance features. Such a baroque attracted Peter I. And its echoes were preserved in the first buildings of St. Petersburg by architect Domenico Terezini. This is the so-called "Petrine Baroque".Slide 3.

In the Catholic countries - the baroque is magnificent, decorative, solemn. During the reign of Elizabeth Petrovna, just such a baroque came to Russia, and it was embodied by Bartolomeo Rastrelli, adding scale, monumentality and at the same time cheerfulness coming from the Terem tradition of coloring.Slide 4. In Russia, there was also a national variety of Baroque, the so-called "Naryshkinskoe" in the architecture of Moscow.

So, today in the lesson we will talk about the architecture of the Russian baroque.

III ... Development of

Student message. The first signs of the Baroque appear in Russia in the 17th century. Tents lose their monumentality, turning into a decorative element, forcing the viewer's eye to move along a curve, running from one element to another.

The building cannot be viewed from one point, it is different from different sides.

Asymmetry prevails in the church architecture of the "marvelous pattern": the bell tower is extended to the northwest, the porch to the south. With galleries, loggias, porches, the building seems to grow into the landscape.

The colors are bright contrasting. At the end, the Cross of Salvation rests on the onion heads (candle - prayer), and they - on the tiers of kokoshniks (tongues of flame - angels).

There is not a single Western European order feature yet in the wondrous pattern.Slide 5.

Teacher. What features of the Baroque style can be seen in the architectural monuments of the "Russian pattern"?

Student message. The next stage begins with the "Naryshkin" baroque. The revolution in the decoration of the facades was made by the Church of Nicholas the Great Cross (1684-1688). The traditionally five-headed, but large and small orders of the facade make the architecture proportionate to the human scale. But most of all, Naryshkin Baroque is famous for its centric-tiered bell-towers, in which an amazing effect is achieved due to the "flow" of one form into another. The name "Naryshkinskoe" is conditional, but this Church of the Intercession in Fili was ordered by K. Naryshkin.Slide 6. A sonorous tradition lives in its details - Russian ornamental patterns, but columns, cornices are not only decorations, they clearly organize the space.

Teacher. What are the features of the Naryshkin Baroque? Why is it so named?

Disciple.

…On busy shores

The slender masses are crowding

Palaces and towers; ships

A crowd from all over the earth

They strive for rich marinas;

Neva dressed in granite;

Bridges hung over the waters

Dark green gardens

Islands covered with it,

And in front of the younger capital

Old Moscow has faded ...

A. Pushkin

Teacher. The heyday of the Baroque in Russia is associated with the construction of the new capital of the state - St. Petersburg.

It was important for Peter I, who founded Petersburg, to firmly establish himself on the shores of the Baltic Sea, and therefore the city began with a fortress. As the architect of the city, a man who was versed in fortification was invited.

It was Domenico Trezzini. His portraits have not survived, many plans and models have not survived, but it was he who laid the foundation for the city.

Under Peter I, Amsterdam was adopted as the urban planning model. It was, firstly, the first large port city that Peter saw. And secondly, the Puritan baroque, being not very luxurious, and therefore not too expensive, was practical and at the same time representative. This fully corresponded to the soul of the zealot of the Russian land, the tsar-toiler.

During this period, mostly simple (rectangular in plan) and outwardly unpretentious buildings were built in the city. Stucco moldings, colonnades, porticoes were practically not used. Sometimes the elements of architectural orders were only indicated on the facade, highlighted in white against an intense red, pink and blue background. Slide 6.

Facades were often supplied with pediments, pilasters, volutes, roofs - spiers, and vertical and horizontal elements were emphasized. The interiors were often arranged in a suite. European architects also brought with them the experience of installing internal plumbing and flush toilets, fine devitrification.

Slide 7.

The fortification and temple architecture were distinguished by simplicity and naive grace (the bell tower of the Peter and Paul Cathedral, the Church of St. Panteleimon, the Peter and Paul Fortress Peter and Paul Gate, etc.).

Student message.

Peter's Gate, built in the form of a triumphal arch.Slide 8.

Trezzini laid decorations of niches, pilasters, volutes and rusticated stone on the 15-meter thick fortress wall. And the sharply protruding cornice, as it were, continues the upper edge of the wall and divides the decoration into two unequal parts.

The lower one is massive, dressed with roughly chipped stone (after a hundred years it was covered with plaster).

Powerful pilasters along the edges of the structure and on both sides of the entrance arch restrain its expansion in breadth.

Between the pilasters there are niches for statues of Pallas Athena - the victorious warrior and Pallas Athena - the patroness of the city.

The upper part, above the cornice, consists of a rectangle - an attic, topped with a rounded bow pediment.

Massive volutes support it and connect it with the horizontal line of the fortress wall.

The attic is decorated with a symbolic bas-relief "The overthrow of Simon by the Apostle Peter". On the bow pediment there is a high relief "Blessing God of hosts".

For a man of the 18th century, the allegory was perceived simply - Tsar Peter, who defeated the unreasonable Swedes.

On volutes - relief compositions of helmets, armor, fanfare. In everything - a sense of strength and military triumph.

A large black double-headed eagle is installed above the entrance arch. In his right paw he has a power, in his left a scepter.

Teacher. In the Peter and Paul Fortress, Trezzini also rebuilt the stone Peter and Paul Cathedral on the site of the first wooden one in the name of the apostles Peter and Paul.Slide 9.

Student message.

At the behest of Peter I, the cathedral should have a bell tower with an unusual Russian spitz (spire). The design of the cathedral was based on Trezzini's well-known west-churches and built a three-aisled basilica, unusual for Russia, Large, not church, but palace windows cut through the northern and southern walls of the temple. Their austere frames with triangular pediments emphasize the solemnity of the entire building. There are pilasters between the windows. Their striving upward is held back by a double cornice. A kind of pause between the wall and the high fractured roof.

It is crowned with an octagonal drum - a large, smooth dome before the fire. (After the fire in the dome, luxuriant-framed lucarnes and intricate garlands appeared.)

There are no curves of traditional apses - the eastern wall is flat and straight. She looks at the main fortress gate. And a person who steps on the ground of the fortification immediately sees this wall. And it begins to judge the greatness and purpose of the cathedral. This is why Trezzini made her so unusual.

Smooth straight wall. In the center, a majestic portal frames a false door. On the sides of the portal are niches for statues. Above it is a round window in a magnificent frame - a lucarne. And above the wall, half-covering the drum of the dome, there is an almost square attic - a wall above the cornice.

Powerful complicated volutes, as it were, connect it with the temple and restrain the upward movement. (This aspiration is emphasized by the semicircular end of the attic, which rests on sharply protruding cornices.)

The attic was decorated with statues and a bas-relief (they died in a fire, and a fresco took the place of the old bas-relief).

Everything repeats the composition of the gate, giving rise to the unity of the ensemble: the triumphal arch of the gate and the cathedral - a monument to the victory over the Swedes. And all together - a memorial of glory, which has never happened in Russia.

And the bell tower of the cathedral with its shining spire topped with an apple, on which the weather vane in the form of a cross with a soaring angel rests, is the main distinguishing feature of St. Petersburg.

A powerful rectangular base, as it were, emphasizes the incredible weight of the entire structure. And only pilasters slightly revive its gloomy severity.

Yes, in front of the entrance there is a small portico with eight columns, as if artificially set against the western wall. And two niches at the edges of the facade emphasize the thickness of the masonry.

Leaning on a massive base, a three-tiered quadrangular tower rises upward. Its first, lower floor seemed to be distributed in breadth under the weight of the upper two. But powerful volutes restrain it on the sides .. With their curls, they rest on the extreme pilasters of the western side of the base.

The same volutes restrain the thrust of the second tier, which is possible under the weight of the third. And again, large stone curls lie on the outermost pilasters of the first tier.

The third tier of the tower rises upward. It is crowned with a gilded octahedral roof with four round windows in massive white stone frames. In the windows there are black dials of watches - the main clock of Russia of Peter I.

Above the roof there is a slender graceful octahedron cut by narrow vertical lines of the openings. Above him is a high, also octahedral, golden crown. And on it instead of the traditional cross there is a thin slender turret - the base of a sparkling spire-needle. And at the very top - an angel with a cross in his hand. From the ground to the top of the cross 112 m.

Teacher.

Since St. Petersburg was conceived as a capital, Trezzini and the buildings of state institutions were built. In 1722, the foundation of the building of the Twelve Collegia was laid on Vasilievsky Island. It stretches for almost 400 m from north to south.Slide 10.

However, not one building, but twelve. Ten for collegia are ministries. Eleventh is the Senate. Twelfth - Synod. Higher institutions of the country, which tend to act in concert and interconnected with each other. And the houses also stood up, snuggling one to the other. Wall to wall. That is why they were nicknamed without divisions as one building: "The Twelve Colleges". To this day, they call it that.

One of the buildings of the building of the Twelve Collegia (now the university).

The Kunstkamera (the first Russian museum) has survived of the buildings of Peter the Great (fromlay 11) , Peter's house ( slide12), Menshikov Palace (slide 13), as well as palaces and pavilions of the suburbs adjacent to the Gulf of Finland (slides 14-16).

Among the numerous architects who worked with enthusiasm on projects for palaces, parks, and administrative buildings, we will single out three names - M.G. Zemtsov, I.K. Korobov and P.M. Eropkin.

Mikhail Grigorievich Zemtsov took part in the construction of the building of the Twelve Collegia, coordinated the construction of the Alexander Nevsky Lavra. One of his magnificent works is the Anichkov Palace on the Fontanka. Ivan Kuzmich Korobov studied in Holland and Flanders. It was he

He became the creator of the initial project of the Admiralty tower, crowned with a golden weather vane spire in the form of a three-masted ship. Petr Mikhailovich Eropkin developed the idea of \u200b\u200bthe famous trident of streets converging in the center of St. Petersburg to the Admiralty.

"Elizabethan Baroque"

Teacher. By the beginning of the 1840s, the development of industry, science and technology was accompanied by the flourishing of culture and, in particular, architecture, which testified to the increased power of the Russian Empire. In Russia, the baroque flourished in full force.

In monarchies, as a rule, architectural preferences are determined by the tastes and desires of the sovereign. Thus, under Peter I, solidity and almost puritanical simplicity were valued in architecture, and women in power allowed the baroque to develop as magnificent as the ruffles and ruffles of their dresses. The time has come for the genius of the jubilant baroque - Bartolomeo Rastrelli.Slide 17.

We will consider only the most significant of his creations.

Rastrelli's ancestors from the famous Florence. Father Francesco Bartolomeo Rastrelli, sculptor and architect Bartolomeo Carlo Rastrelli, came to St. Petersburg in 1716 with his fifteen-year-old son, who retained the memories of the splendor of Versailles he had seen.

The sculptures of Peter and Menshikov, created by his father, have survived to this day. The Russian Museum houses a large statue of Empress Anna Ivanovna with a little arapchon. And in front of the Mikhailovsky (Engineering) castle rises a solemn equestrian figure of Peter, full of stately calm.

Rastrelli Jr. inherited from his father the ability to see the plasticity of forms and love for sculptural decor, and this perception of architecture in direct synthesis with sculpture will never leave him.

The daughter of Peter I, Elizaveta Petrovna, having come to power, ordered Rastrelli to rebuild the Peterhof suburban entertainment palace.

The palace and the park were laid down during the reign of Peter I, which means that everything here is subordinated to the sea... Slide 18. From the sea to the central bucket-basin with the figure of Samson, tearing the mouth of a lion - a symbol of the victory of the Russian hero over the Swedish lion (the lion on the coat of arms of Sweden), there was a straight canal, along the sides of which small fountains, alternating with dark fir trees, formed the central alley.

Here it is - the main axis of the entire Peterhof ensemble, it divides the park in two. A large cascade, falling over three ledges - terraces, starts from the middle of the palace, crowning a natural ridge.

When Rastrelli was instructed to rebuild the palace, there were buildings in Peterhof by various architects who attached wings and galleries to the Peter's Palace. Rastrelli was faced with the task of preserving the relic associated with the life of Peter I (preserving the central building of the palace, including it in the volume of the Grand Palace), to rebuild a new three-story palace.Slide 19.

Therefore, the facade of the central volume is rather modest - Rastrelli mainly used those elements that were inherent in the architecture of the beginning of the century: flat treatment of the wall with pilasters barely protruding from its thickness, uniting the two upper floors;

rusticated corners and ground floor;

the roof has smooth outlines with a characteristic fracture.

Only window frames he allowed himself to enrich and diversify somewhat.

But the side buildings - church (eastern) and "under the coat of arms" (western) - the architect decided in a different way.

These compact, slender pavilions, especially elegant due to their high sparkling roofs, give a clear completeness to the silhouette of the entire building strongly stretched horizontally, soften the somewhat heavy simplicity of the central volume and wonderfully resonate with the boiling streams of fountains gushing at the foot of the palace.

In the decoration of these buildings, the architect gave free rein to his passion for decorativeness, as if compensating himself for the restraint in the design of the middle part.

The tetrahedral domes, decorated with gilded garlands of palm leaves and rocaille swirls, rise with whimsical grace.

Onion domes grow out of them on light faceted drums - such Russian and at the same time completely Rastrelli.

And in the smooth bend of the lead roof of the main house, and in the faces of the domes, one can notice some similarity with the Baltic wave.

Rastrelli created not only the outer shell of the building, but also its interior decoration. Interiors of rooms and even stairs.

Take a look at the main staircase of the Peterhof Palace

Captures the abundance of light, the shine of gilding on the dynamic forms of sculptures, vases, carved and picturesque garlands and cartouches covering the walls.

The picturesque plafond depicts the empress in the form of the goddess of spring, who rushes among the clouds in a chariot and scatters flowers.

On the upper platform, from where the doors led to the ceremonial halls, the shine of gold becomes especially strong: on the railing pedestals and in the niches on the sides of the doors, designed like a triumphal arch, there are four gilded sculptures - the personification of the seasons;

double columns support the arched pediment above the doors, on the slopes of which the allegorical figures of "Faithfulness" and "Justice" sit; gilded carving frames niches and windows, even on a cloudy day it seems that the staircase is illuminated by the sun.

Rastrelli is a great master of creating buildings in the Baroque style, as if life was a continuous celebration, and palaces were erected with the wave of a magic wand. Just by looking at the details, you will remember how much work has been put into each carved and gilded curl.

The genius of Rastrelli the decorator was most clearly manifested in Tsarskoe Selo. There he showed on a truly Russian scale what his amazing imagination can give, multiplied by the virtuoso skill of hundreds of performers.

In contrast to the Peterhof palace, which was mainly for entertainment, the palace in Tsarskoye Selo was to become the grand suburban residence of the empress.

By the spring of 1756, the new palace of Elizaveta Petrovna was ready.Slide 19.

The huge central gate of wrought iron lace flung wide open. Carriages rolled into them and immediately turned left along a one-story semicircular building - a circumference.

Two such outbuildings on the western side of the palace, as if with giant arms, clasped the front yard with elegant flower beds.

The movement of carriages along the left circumference was an ingenious plan of the architect.

At that time, it was impossible to drive directly to the front entrance.

The road was first specially rounded in order to then go along the entire building, stretching 325 m from south to north. From the windows of the carriages, the guests were supposed to see the front facade in all its splendor and grandeur.

First, the palace church with its five domes sparkling in the sun. Then there is a long gallery that connects the church with a large wing.

Then the next gallery - from the wing to the central part of the building - the former house of Tsar Peter, built on, expanded and converted inside.

Powerful columns separate the wide windows and glazed doors of the galleries or are grouped on the facades of the wings, highlighting their centers.

The mighty Atlanteans, bent over from tension, hold the immense weight of the columns on their shoulders.

Capitals of columns, pilasters, sculptural details of the facade, countless statues and vases on the roof of the palace shine with gilding.

The shine of gold, the whiteness of the columns and pilasters against the background of light azure walls, the endless play of glare and shadows - absolutely everything gives the palace the character of a precious adornment of unimaginable dimensions.

It is no coincidence that after inspecting the palace, the French ambassador to the Elizabethan court appreciated this creation by Rastrelli: "... I did not see the most important thing here ... a worthy case for such a great jewel."

The interiors of the palace are also striking - a unique suite of rooms with

never repeating decor, huge, filled with light pouring from windows or light of candles repeated many times by mirrors, creating the illusion of endless space Ballroom.

And finally, one of the eighth wonders of the world - the Amber Room, donated in 1716 to Peter I by the Prussian king Friedrich Wilhelm.

Rastrelli created not only palaces.

Praying Elizabeth used to say that she would go to a monastery in old age, and ordered to rebuild the Resurrection Novodevichy Convent for this purpose. He is now known as Smolny. Taking into account the vitality of the customer, Rastrelli decided to build the monastery as magnificent as a palace. For all that, the temple of the monastery had to be traditionally five-domed.

Unfortunately, the entire development project was not completed.

Rastrelli fulfilled the desire of Elizabeth Petrovna to have a five-domed cathedral.Slide 20. But what did he do with the traditional Russian five-domed?

On the model, the small domes are still at some distance from the central dome, but during the construction the architect changed the project and adjoined these domes-turrets to the drum of the main, parabolic dome.

The cathedral is decorated with special splendor. According to the author, he was all supposed to sparkle: white details on the blue, azure, background of the walls, an abundance of gilding on capitals, cartouches and garlands, on domes and domes.

The cathedral, which has the plan of the same equilateral cross, looks equally good from all sides.

And one more creation by Rastrelli entered the treasury of world culture. This is the former Winter Palace, now the building of the State Hermitage.Slide 21.

The grandiose palace was supposed to personify the greatness and strength of Russia. Rastrelli skillfully linked the volume of the palace with the entire adjacent part of the city.

He interpreted the southern facade as the main one and designed a large front square in front of it (instead of the meadow that was there). In the center of

it was planned to erect an equestrian monument to Peter the Great, executed by the architect's father, and around a large diameter circle - a double colonnade "in the image of light galleries" instead of a fence. This plan was not realized, but the square in front of the southern facade of the palace is still the main square of the city.

Rastrelli himself decided to be a purely urban structure - a colossal enclosed volume with a courtyard and free facades that are not adjacent to any other buildings.

The main one, facing the Palace Square, has three mighty projections. The widest of them, the middle one, is cut through by three arched entrances leading to the huge front yard.

The carriages of the Empress or her guests, passing the sentries, drove up to the main entrance, located in the northern building. Here, through a solemn gallery, they approached the dazzlingly beautiful Ambassadorial, or Jordanian, staircase, from the upper landing of which the entrance to the ceremonial halls opened.

All facades are designed differently, and the decorations emphasize the extraordinary height of the building that dominated the city at that time.

In addition to the fact that the palace itself was high, the architect visually increased its height by arranging the columns on the facade either in groups, then in pairs, then alone, but certainly in two tiers, as if one above the other. Crowning the palace, at the level of the roof there is a balustrade with decorative stone sculptures and vases, placed in such a way that they continued the vertical of the columns.

An important place in the appearance of the palace belongs to the windows: they are large and there are a lot of them - one thousand nine hundred and forty-five. And here in the drawing of window frames the fantasy of the architect-decorator is played out. It is not enough for him to give as many types of platbands as there are floors. You can, for example, take three windows in a row, and each will be decorated in its own way.

The interiors were also designed by Rastrelli, but not all of them were finished according to his designs.

Moreover, all the original decoration of the palace, both external and internal, was destroyed by a terrible fire in December 1837.

It was rebuilt in just a year, but every detail was no longer cut from crushed brick mixed with lime mortar, but was cast according to a template. And the facades, although restored according to the Rastrelli models, became drier.

The interiors have changed in many ways.

The Winter Palace was the last monumental building built in Russia in the Baroque style.

In the early 1760s. aesthetic tastes have changed. The baroque in Russia was replaced by classicism.

The climax.

"Wonderful pattern", "Naryshkinskoye" baroque. Where did these varieties of Russian baroque develop?

What is the difference between the architecture of the Moscow Baroque from the Petersburg one?

Compare the architecture of Petrine and Elizabethan Baroque.

The appearance of the "city of Petrov" personifies the state greatness of Russia, its invincibility. Was the city "European"?

A.S. Pushkin believed that "before the new capital, old Moscow faded." Do you agree with his words?

Which architects contributed to the construction of St. Petersburg?

Students' statements.

Tests on the topic.

The final.

Teacher.

Russian baroque was filled with the pathos of powerful statehood. Russia "opened a window to Europe" and became the strongest European state. The northern capital with its palaces and fountains personified the state greatness of Russia, its invincibility. Its creators were guided by the innovative installations of European architecture and the aesthetics of regular architecture.

Vi. Homework:

textbook pp. 346-347; 350-355; questions 5, 8 on page 373.

Write a miniature essay about an architectural monument of the Russian Baroque.

APPENDICES.

Dictionary of concepts and terms.

Baroque.

Acanthus - stucco image of a plant with openwork leaves.

Enfilade - rows of communicating rooms located on the same axis one after another, like a corridor barred by doors.

Attic - a wall above the cornice, decorated with a relief or an inscription.

Volutes - an architectural detail in the form of a curl or spiral.

Lucarne - a round or oval window in a curvy frame in a dome or high roof.

Cartouche - decoration in the form of a shield or scroll, not fully expanded, with the image of the coat of arms, monogram or emblem.

Mascarons - molded, carved or molded masks in the form of a human face or the head of an animal. Placed above windows, doors, arches, fountains, vases, furniture.

Rizalits - parts of the building protruding beyond the main line of the facade - were built in the center of the building, thereby highlighting its front part.

Rocailles - stylized shell - curl.

Rust - deliberate distortion of the wall surface.

Pilasters - the columns are not completely separated from the walls.

Task 2. Describe the Baroque architecture of this building.

F. Borromini. Church of San Carlo alle Cuatro Fontane. 1638-1677. Rome

Verification test.
I .Select words related to Russian baroque.

Kikin's chambers, lukarna, pearl, Rastrelli, Stroganov Palace, pilasters, classicism, St. Nicholas Cathedral, windows with fine glass, Atlantes, severity, pomp, plafonds, abundance of decor, order, Winter Palace, Menshikov Palace

II .Choose an answer.

Russian baroque prevailed during:

Catherine the Great

Peter the Great

Elizaveta Petrovna

Pavle Petrovich

III ... Choose an answer.

Baroque is

Imitation of antiquity

Artsy, quirky

Strict, slim

Irregular pearl

IV. Choose an answer.

Russian baroque prevailed in:

1741-1761 years

1730-1740 years

1703-1730

V... The most famous Russian Baroque architects and their creations.

Domenico Terezini:

Bartolomeo Rastrelli:

Peter and Paul Cathedral, the Catherine Palace in Tsarskoe Selo, the building of the Twelve Collegia, the Peter and Paul Gates in the Peter and Paul Fortress, the Palace in Peterhof, the Smolny Monastery.

Distribute correctly.

Style

"Baroque" arose

in Italy at the end of the 16th century. and replaced the Renaissance style as a result of the crisis of the humanistic Renaissance culture.

In the XVII century. baroque spread in most

european countries.

Baroque architecture, which for a long time was not perceived by fans of classical forms, as an independent

and self-sufficient style, appeared at the break of the late Renaissance, as its continuation and

development.

To some extent, this was a return to the philosophy of Gothic, since the style reflected the ideology of Catholicism: the expressiveness, mysticism, illusion, inherent in the Baroque, are also characteristic of

worldview of Catholics.

Thus, one can

One of the stylistic currents of the Italian Baroque was called the "Jesuit style" or "torentino".

The founder of this trend was a member of the order

A. Pozzo was an architect, painter, sculptor. The ideas of ascension, soaring, incorporeal were realized by artists decorating the ceilings and walls of temples. The paintings seemed to break through the plane of the walls or ceiling, without taking into account the structural features of the architecture. The architecture of this period becomes very picturesque and rich in artistic details. Illusory structures were created using various techniques: the drawn architectural elements created an almost imperceptible transition from a real structure to a fictional one, which visually changed the space.

Characteristic features of baroque architecture

An abundance of lush,

decorative

jewelry

Underlined

theatricality

Predominance

complex curvilinear shapes

consistency and proportionality comes dissonance and asymmetry